Set in late-medieval Eastern Europe, Naomi Novik’s Spinning Silver has as its heroine a Jewish girl, named Miryem Mandelstam, who is abducted by a group of supernatural beings called the Staryk. Michael Weingrad finds the book’s Jewish characters entirely deracinated, and its message one of superficial tolerance:

More unbelievable than any supernatural element [in Spinning Silver] is that the Jewish and Christian characters are friendly to the point of (sometimes literal) cuddliness. Indeed, Miryem’s rescue, and the saving of all of Lithvas [the book’s fictionalized version of Lithuania], from an eternal winter conjured by the Staryk king, is made possible because of her friendships with the peasant girl Wanda and her brothers. In fact, Miryem’s and Wanda’s families eventually decide to live together in one big house. The book even ends with an interfaith (and interspecies) marriage between Miryem and the Staryk king. (Of course, Miryem insists they have a ceremony with a rabbi; no word yet on how they’re planning to raise the children.) Wanda and her brother Sergey sign the k’tubah [Jewish marriage contract] as witnesses.

Sure, all this beats a pogrom. But given that Novik clearly intends the book to work as a commentary on the situation of Jews in the East European past, the result is an unconvincing muddle. In Novik’s fairy tale, anti-Semitism (along with most other problems) seems mainly a result of economic inequity, scarcity, and greed. If people would just learn to share instead of seeking profits and hoarding wealth, it would go away. But this is only remotely plausible because Novik has stocked her book not with anything resembling historical Jews and Christians but with 21st-century secular liberals who have no commitment to group identity in the first place.

“I confess I had never been very attached to Torah,” says Miryem. (It doesn’t help that Novik has Miryem repeatedly cite the story of Judith and Holofernes as Jewish “color.” Novik seems not to know that the book of Judith is part of the Christian scriptural canon, not the Jewish Bible.) For that matter, none of Novik’s main characters, Jew or Christian, expresses any attachment to peoplehood, religion, or nation. Tellingly, Novik’s Litvaks don’t even speak Yiddish.

Two extraordinary events demonstrate something important about Israel’s most fervent adversaries. One was a speech given at something called The People’s Forum (funded generously by Goldman Sachs), which stated, “When the state of Israel is finally destroyed and erased from history, that will be the single most important blow we can give to destroying capitalism and imperialism.”

The suggestion that this tiny state is the linchpin of a global, centuries-old phenomenon like capitalism goes well beyond anything resembling rational criticism. Even if Israel were guilty of genocide, apartheid, and oppression—which of course it is not—it would not follow that its destruction would help end capitalism or imperialism.

The other was an anti-Israel protest that took place in front of New York City’s Memorial Sloan Kettering Cancer Center, deemed “complicit” in Israel’s evils. At organizers’ urging, participants shouted their slogans at kids in the cancer ward, who were watching from the windows. Given Hamas’s indifference toward the lives of Gazan children, such callousness toward non-Palestinian children from Hamas’s Western allies shouldn’t be surprising. The protest—like the abovementioned speech—deliberately conveyed the message that Israel is the ultimate evil and its destruction the ultimate good, cancer patients be damned.

The fact that Israel’s adversaries are almost comically perverse does not mean that they can be dismissed. If its allies fail to understand the obsessive and irrational hatred that it faces, they cannot effectively help it defend itself.